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Rebecca Belmore, ;Ayum-ee-aawach Oomama-mowan: Speaking to Their Mother,' 1991.

Rebecca Belmore, 'Ayum-ee-aawach Oomama-mowan: Speaking to Their Mother,' 1991. Gathering, Mount Mackay, Fort William First Nations, Thunder Bay, Ontario, 1992. Photo: Michael Beynon. Courtesy of Walter Phillips Gallery, Banff Centre for Arts and Creativity. Purchased with the support of the York Wilson Endowment Award, administered by the Canada Council for the Arts, P08 0001 S

Rebecca Belmore, Ayum-ee-aawach Oomama-mowan: Speaking to Their Mother, n.d.
Audio work composed of recordings from community gatherings in 1992; 26:33 minutes Edition 2 of 2
Collection of Walter Phillips Gallery, Banff Centre for Arts and Creativity 
P21 0004 M

 

The audio work, Ayum-ee-aawach Oomama-mowan: Speaking to Their Mother (n.d.), shares its name with the iconic sculpture by artist Rebecca Belmore that has come to be recognized internationally as a potent symbol of Indigenous rights through its amplification of voice, protest, and song. Commissioned by Walter Phillips Gallery in 1991 with the fabrication of the piece at Banff Centre, the work was envisioned by the Anishinaabe artist in the wake of the Kanyen’kehà:ka Resistance of 1990, or “Oka Crisis” where conflict over the intention for a golf course to be built over Kanyen'kehà:ka burial grounds resulted in a militarized response from the Canadian government. Taking the form of a large megaphone constructed primarily of wood and tanned moose hide and embedded with a loudhailer, the work was intended to amplify the voices of Indigenous people in Canada and was first activated at a gathering in a meadow at Johnson Lake in Banff National Park where a group of over sixty people joined to either take up the artist’s invitation to speak through the work to the land or to witness. [1]

As the artist states in an interview from 2008 with curator Daina Augaitis, the use of the sculpture in the context of the mountains produced an echo that was of significance to the work. [2]

"For those who spoke, this effect conceptually integrated the sound of their own voices with the land. This magnificent experience of an echo made all who were gathered profoundly aware of the body as nature. […] The art object became merely a functional tool; the essence of the piece was the voice and its reverberation across the land." [3]

The recordings that compose this audio work are from a series of gatherings that took place in 1992, when the artist alongside Florene Belmore and Michael Beynon transported the work to a number of Indigenous communities across Canada in both urban and rural locations, beginning these travels with an event at the steps of Parliament Hill. [4] The gatherings with the work would begin with the artist speaking through the sculpture and would then be open to those present to speak or otherwise address the land. [5] Heard in the audio from these events are the sounds of a baby’s cry, words spoken to the earth, and music played or sung. In 2021, the artist donated the audio work Ayum-ee-aawach Oomama-mowan: Speaking to Their Mother to Walter Phillips Gallery, with the desire that when exhibited in future, the megaphone should be experienced alongside this work; reintegrating sound into the experience of the sculpture. Streaming online as a part of this exhibition, the words, sounds and songs of love and of protest are available now for all with means of accessing them to hear.

[1] Daina Augaitis and Rebecca Belmore, “Ayum-ee-aawach Oomama-mowan: Speaking to Their Mother: Daina Augaitis and Rebecca Belmore in Conversation.” Interview by Daina Augaitis. In Rebecca Belmore: Rising to the Occasion, edited by Daina Augaitis and Kathleen Ritter. Vancouver: Vancouver Art Gallery, 2008, 41.
[2] Daina Augaitis co-curated the Walter Phillips Gallery exhibition, Between Views and Points of View (1991) with Sylvie Gilbert through which Ayum-ee-aawach Oomama-mowan: Speaking to Their Mother was commissioned.
[3] Augaitis and Belmore, “Ayum-ee-aawach Oomama-mowan: Speaking to Their Mother: Daina Augaitis and Rebecca Belmore in Conversation,” 42.
[4] Ibid, 45.
[5] Ibid, 45.

 

Rebecca Belmore

Rebecca Belmore is a member of Lac Seul First Nation (Anishinaabe). Her works are rooted in the political and social realities of Indigenous communities and make evocative connections between bodies, land and language.

A major retrospective of Belmore’s work, prepared by the Art Gallery of Ontario, toured Canada in 2018-19. Her group exhibitions include Whitney Biennial (2022); dOCUMENTA 14 (2017), Athens, Greece; Echigo-Tsumari Triennial, Niigata Prefecture, Japan (2015); Global Feminisms, Brooklyn Art Museum, New York (2007); Land, Spirit, Power, National Gallery of Canada, Ottawa (1992); and Creation or Death: We Will Win, Havana Biennial, Cuba (1991).

Belmore was a recipient of the Gershon Iskowitz Prize in 2016 for her outstanding contribution to the visual arts in Canada, Governor General’s Award in Visual and Media Arts in 2013, the Hnatyshyn Foundation Visual Arts Award in 2009, and Honorary Doctorates from the Ontario College of Art and Design University in 2005, Emily Carr University in 2018, the Nova Scotia College of Art and Design in 2019 and the Université Laval in 2021.
 

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Janet Cardiff, Forest Walk, 1991. Collection of the Whyte Museum of the Canadian Rockies. Image courtesy of the artist.

Janet Cardiff, Forest Walk, 1991. Collection of the Whyte Museum of the Canadian Rockies. Image courtesy of the artist.

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THERE ARE INHERENT RISKS ASSOCIATE WITH PARTICIPATING IN THE DESCRIBED ACTIVITIES INCLUDING SERIOUS INJURY. PLEASE READ THIS AGREEMENT CAREFULLY.

Definition – Activities.  The term “Activities” refers to Banff Centre’s self-guided, unsupervised, forest walk throughout the Banff Centre campus on an unlevel and unmaintained trail while listening to an audio recording on a personal device or an audio device provided by Banff Centre.

Assumption of Risks.  The Activities involve risks, dangers and hazards including the risk of personal injury.  These risks dangers and hazards include, but are not limited to: slips, trips and falls, cuts, abrasions, strains, fractures or concussions; failure of equipment or structures such as stairs, railings or bridges; failing to engage in the Activities safely or within one’s own ability; loss of balance, overexertion or lack or fitness or conditioning; shock, stress or other injury to the body; interaction or confrontation with wildlife including but not limited to bear, cougar, coyote, deer, elk or wolves.

By streaming Forest Walk (1991) you acknowledge that you are responsible for ensuring your own safety during the Activities and that you accept the risks associated with your participation in the Activities.  You have the obligation to become informed about the risks, dangers, and hazards of the Activities including, but not limited to, hazards related to wildlife and are encouraged to provide wildlife with adequate space, alert Banff Centre security or staff of any dangerous or aggressive wildlife and cease participating in the Activities if you feel unsafe for any reason.

Janet Cardiff, Forest Walk, 1991
Digital audio file on iPod or streaming; 16:36 minutes
Collection of the Whyte Museum of the Canadian Rockies 
CdJ.26.01

 

The walk begins at the edge of the woods, adjacent to Walter Phillips Gallery. The audio indicates to “Go towards the brown, brownish green garbage can,” which is no longer there. The path cuts up from beside the driveway off the main road, with a feminine voice instructing the listener to “Take the trail, it’s overgrown a bit. There’s an eaten-out dead tree. Looks like ants.” With such a landmark within the forest transient as subject to forces of decay, this point of reference on the trail is now also absent.

These changes in surroundings are not solely a feature of this audio walk, the first that artist Janet Cardiff produced in the form, but in subsequent works that are situated in cities where the pace of construction and urban change can also result in a disjuncture between what’s heard and seen. As one follows the path through the forest, the disappearance of different landmarks referred to in the audio can make the exact route difficult to discern. These changes also heighten an uncanniness of the experience already present for listeners encountering phrases, sounds or music that punctuate the audio which differ from the voice’s immediate reflections on their surroundings, instead seemingly fragments of a story or drama that the listener is not fully privy to.

Other reflections are so attuned to the experience of certain listeners who undertake the audio walk that they can conjure a sense of strangeness, not in their suggestion of an alternate narrative, but for the way in which they could have emerged from the listener’s own head. “I haven’t been in this forest for a long time…it’s good to get away from the Centre, from the building noises, to idyllic nature.” Farther along the trail high above the Bow River, the woman’s voice describes the kind of encounter that could have taken place along the path towards Bow Falls today, or any other through the decades that the land has been understood by some as tourist destination. “Someone’s standing across the river, watching the rapids. Oh, he just left. He’s got a blue shirt, long grey hair, and he’s walking up the path towards the Banff Springs Hotel.”  The sound of water, so present on the trail, comes through both the headphones and the air.

In writing on Cardiff’s audio walks, curator Kitty Scott, who experienced Forest Walk when the artist first produced the work while on residence at Banff Centre in 1991, notes that in taking part, “it is necessary that you maintain a high degree of consciousness, but simultaneously you must also navigate a parallel universe of your own imagining.” [1] In a place that many visit to unburden their days and make the space to dream, those who undertake Forest Walk can experience the pleasure of both the grounded reality of breathing, moving, thinking, and listening while also being fully present in a kind of mental elsewhere. A result of space and time and work and of accident and chance, it is in the forest that dream begets dream.

Forest Walk is available for streaming at the link below and is recommended to be experienced using AirPod earbuds. The work on iPod with headphones can also be borrowed from the Front Desk at the Professional Development Centre by appointment. Please click here to reserve an iPod.

[1] Kitty Scott, “I want you to walk with me,” in The Missing Voice (case study b), London: Artangel, 1999, 4-16 (book and CD), as republished in Janet Cardiff: A Survey of Works Including Collaborations with George Bures Miller by Carolyn Christov-Bakargiev, edited by Anthony Huberman. Long Island, NY: P.S.1 Contemporary Art Center, 2001, 65. Exhibition catalog.
 

Janet Cardiff

Janet Cardiff (b. 1957) and George Bures Miller (b. 1960) met in art school. George was a painter/filmmaker and Janet was a photo-printmaker. As soon as they began dating, they began producing films and media works creating a basis for their later collaborations in immersive multimedia sound installations and their audio/video walks. In the mid 1980’s they lived in Toronto, sometimes surviving by selling t-shirts on the street until they went to Lethbridge, Alberta where Janet became a professor. In 1991 Janet had a major breakthrough while experimenting with sculptural audio creating the binaural audio walk format which led to international exposure at the Louisiana Museum in Denmark in 1996 and Skulpture Projekt Münster, 1997. Their interest in sculptural audio and installation led them to create the multi-track work The Forty Part Motet (2001) which has been exhibited extensively including at the Fondation Louis Vuitton in 2017. In 2001 they moved to Berlin with a DAAD grant where they produced installations and walks until moving back to British Columbia, Canada in 2010 where they still live and make art. In 2023 they opened the Cardiff Miller Art Warehouse (CMAW), a large exhibition space in Enderby, British Columbia to permanently showcase their multimedia works.

Solo museum shows include: The Tinguely Museum; The Lehmbruck Museum; The Museum of Contemporary Art, Monterrey; The Oude Kerk, Amsterdam; The 21st Century Museum, Kanazawa; ARoS Museum; Museo Nacional Centro de Arte Reina Sofía; The Cloisters, Metropolitan Museum of Art, New York; Art Gallery of Ontario, Toronto; MACBA, Barcelona; Mathildenhohe Darmstadt; and PS1 MOMA.

Their works were included in: Surrounds: 11 Installations, MOMA and Documenta 13, Kassel. In 2001, Cardiff and Miller received the International Prize and Benesse Prize for the Canadian Pavillion at the 49th Venice Biennale. In 2020 they were awarded the Wilhelm Lehmbruck Prize and in 2011 the Käthe Kollwitz Prize (Berlin).
 

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T’uy’t’tanat-Cease Wyss and Anne Riley, Soundtrack for the Radical Love of Butterflies, 2018.

T'uy't'tanat-Cease Wyss and Anne Riley, Soundtrack for the Radical Love of Butterflies, 2018. Collection of Walter Phillips Gallery, Banff Centre for Arts and Creativity P18 0005 V 

T’uy’t’tanat-Cease Wyss and Anne Riley, Soundtrack for the Radical Love of Butterflies, 2018
Sound work on cassette tape, Side A: 45 minutes; Side B: 38 minutes
Collection of Walter Phillips Gallery, Banff Centre for Arts and Creativity 
P18 0005 V

 

Soundtrack for the Radical Love of Butterflies (2018) by T’uy’t’tanat-Cease Wyss (Skwxwu7mesh, Sto:lo, Hawaiian, Swiss) and Anne Riley (Slavey Dene, Fort Nelson First Nation) is an artwork in the form of a cassette tape first produced in an edition and gifted to those in attendance at the talk, a chrysalis of being by both artists that took place at Mike MacDonald’s Butterfly Garden (1999) at Banff Centre on August 4, 2018. The sound work was initially made by Wyss and Riley as their contribution to the exhibition, If the river ran upwards and was inspired by MacDonald’s Butterfly Garden and the remediative work of pollinators that can be considered a form of love. 

On Side A of the cassette tape, the sounds of pollinators can be heard, giving voice to and honouring their work within Harmony Garden and larger ecosystem. Other recordings on the cassette tape are conversations with those whom Wyss and Riley understand as butterflies, each remediating the communities within which they live and work through their efforts. Side A includes interviews with the late Lillian Howard, a community matriarch in Vancouver; and Lorelei Williams, founder of "Butterflies in Spirit," a dance group aimed at the awareness of Missing and Murdered Indigenous Women and Girls. This side of Soundtrack for the Radical Love of Butterflies further features an interview with Mark Handley, who supported MacDonald in planting various Butterfly Gardens. Side B includes a recording of Dawn Morrison, Founder, Chair and Coordinator of the B.C. Food Systems Networking Group on Indigenous Food Sovereignty; and a love song lullaby sung by queer multidisciplinary artist Kwiigay iiwaans. The ethics of relationality core to Wyss and Riley’s practices across different forms of artmaking, living, working and being, is an invitation to think about not only what art can be, but how it can act as a remediative force within and outside of the walls of a gallery.

Soundtrack for the Radical Love of Butterflies can be reserved here for check out from the Front Desk at the Professional Development Centre at Banff Centre. You are invited to listen to the work in MacDonald’s Butterfly Garden adjacent to Glyde Hall, or elsewhere outdoors or indoors on campus.

 
 

T’uy’t’tanat Cease Wyss

T’uy’t’tanat Cease Wyss is an Indigenous Matriarch of the Skwxwu7mesh, Sto:lo and Hawaiian people. Through her work as an ethnobotanist, artist, activist and community-based educator, they strive to share Indigenous customs, teachings, and futures and to connect Indigenous peoples. Wyss’s thirty-year career encompasses a vast array of practices, from weaving, making remedies, medicine walks to the realm of Indigenous Digital Futurisms. Her interactive, community-based work is insightful and informative of their contemporary conditions.

Interweaving their skills as an ethnobotanist and an interdisciplinary artist, Wyss maintains a practice to decolonize their life and their art by learning about their culture and using traditions practiced by their ancestors. This is witnessed in their recent exploration of cultural weaving using materials traditionally used by Salish People such as red and yellow cedar, Salish Woolly dog fibre, stinging nettles, and fireweed fluff. Furthermore, their current community teachings and research is focused on restoring and remediating Indigenous species and natural space by encouraging others to build their Indigenous food forests and to nurture local biodiversity respectfully and sustainably.

Wyss is a collaborator, deeply involved in community building and finds dialogue with communities crucial in exchanging knowledge and critical in preserving Indigenous understanding of the land and ecosystems. Wyss has taught these teachings to public institutions and organizations and has participated in creative projects that share different indigenous cultures in stewarding this effort in preservation. Outside the importance of preserving what surrounds them, she believes in the importance of taking care of and feeding oneself, in redefining oneself as a way to care for Mother Earth, Chescha7 Timixw, and Ch’iaxw- their sacred protocol.
 

Anne Riley

Anne Riley is a Indigiqueer multidisciplinary artist living as a Slavey Dene/German guest on the unceded territories of the xʷməθkʷəy̍əm, Sḵwx̱wú7mesh and Sel̓íl̓witulh Nations. She is a member of Fort Nelson First Nation. Her work explores different ways of being and becoming, touch and Indigeneity. Riley received her BFA from the University of Texas at Austin and has exhibited across the United States and Canada. From 2018-2020 she worked on a public art project commissioned by the City of Vancouver with her collaborator, T’uy’t’tanat Cease Wyss. Riley and Wyss’s project, A Constellation of Remediation, consisted of Indigenous remediation gardens planted throughout the city. Riley and Wyss were long listed for the 2021 Sobey Art Award. Since this project, Riley participated in the Drift: Art and Dark Matter residency and exhibition, creating works that consider the possibilities of making and being beyond the confines of western institutions and extractive processes. Currently, they are an MA Candidate in Cultural Studies at Queen's University. Their thesis research is focused on Indigiqueer Feminist Dene love. 

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Thank you for reaching out to the Banff Centre Mountain Film and Book Festival media team. We will contact you as soon as possible regarding your media accreditation application. Adventure awaits! #NineEpicDays

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The Barra MacNeils – An East Coast Christmas is a musical potpourri of traditional MacNeil family favourites gleaned from Christmas ceilidhs, midnight masses and the general festive frolic that accompanies each holiday season.  With their captivating vocals, distinctive harmonies and extraordinary musicianship, The Barra MacNeils inject new life and energy into the sights and sounds of Christmas…one moment a rousing chorus, then a hauntingly beautiful Gaelic ballad, the next a flurry of foot-stomping instrumentals, which of course pulls one then another into a step-dancing revelry. For a delightful seasonal celebration, don’t miss An East Coast Christmas with the Barra MacNeils!

Tour Sponsored by Cape Breton University

Barra MacNeils Xmas. Image courtesy of the artist.
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Enjoy captivating vocals, harmonies, and musicianship in a festive blend of traditional favorites and Gaelic ballads.
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Join us for an illuminating conversation with acclaimed author Naomi Klein and Derek Beaulieu, Director of Literary Arts at Banff Centre. Klein will discuss her journey from The Shock Doctrine to her latest work, Doppelganger, exploring how the political and social divisions of the Covid era shaped her writing. She'll delve into the intriguing concept of the doppelganger and share her encounter with her own. The discussion will examine mirror worlds, the impact of disaster capitalism on our social fabric, and the challenges of misinformation. Klein and Beaulieu will also offer insights on healing societal rifts and fostering understanding in our increasingly complex world.



Naomi Klein. Photo credit Sebastian Nevols.
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Join acclaimed author Naomi Klein and Derek Beaulieu, the Director of Literary Arts at Banff Centre, for a fascinating conversation.
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Some content may not be suitable for all ages. Parental guidance is recommended.
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Naomi Klein

NAOMI KLEIN is an award-winning journalist and the New York Times bestselling author of seminal books such as Doppelganger, The Shock Doctrine, This Changes Everything, and On Fire. Naomi has dedicated her career to offering clarity and building solidarity on the most pressing social issues, and to date, her books have been published in over 35 languages worldwide. In her latest book, the NYT bestseller Doppelganger, she explores what she calls the “Mirror World”: our current landscape of doubles and confusion born of misinformation, political polarization, and the rise of Artificial Intelligence. Part riveting memoir, part brilliant social analysis, this TIME Best Non-Fiction Book begins by grappling with Naomi’s own doppelganger and unfolds into a larger exploration of what it means to be human today. Through her body of work, Naomi offers us not only a deeper understanding of the crises we face, but also a path towards a more hopeful future.

Derek Beaulieu

20211221-poet-laureate-0011.jpg

Derek Beaulieu is the author/editor of over twenty-five collections of poetry, prose, and criticism. His most recent volume of fiction, Silence: Lectures and Writings, was published by Sweden’s Timglaset Editions, his most recent volume of poetry, Surface Tension, was published by Toronto’s Coach House Books. Beaulieu has received multiple local and national awards for his teaching and dedication to students, the Queen Elizabeth II Platinum Jubilee Medal for this dedication to Albertan literature and is the only graduate from the University of Calgary’s Department of English to receive the Faculty of Arts ‘Celebrated Alumni Award.’ He holds a PhD in Creative Writing from Roehampton University, has served as poet laureate of both Calgary and Banff, and is the Director of Literary Arts at Banff Centre for Arts and Creativity.

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Join us for Live at Maclab and enjoy an evening of music and song with talented performers in a spectacular setting.


Pharis and Jason Romero are a four-time Juno Award-winning duo celebrated for their fluid voices and masterful banjo craftsmanship. Their latest album, Tell ‘Em You Were Gold, showcases their exceptional talent and was recorded in their lovingly restored barn. Experience the joy and ease of their music. Don’t miss this chance to see these remarkable musicians live!



Pharis and Jason Romero
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Join us for an evening with Pharis and Jason Romero, a four-time Juno award-winning duo celebrated for their fluid voices and masterful banjo craftsmanship
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Doors open at 7:45 pm.

Maclab Bistro will be closed at 6:30 pm for setup for this show; however, Three Ravens Wine Bar will be open for beverage service until 8 pm.

No saved or assigned seats, arrive early to pick your table! Be ready to share with new friends!

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Pharis & Jason Romero

Pharis and Jason Romero are pure craftspeople and top-notch musicians. They've won four Juno awards and seven Canadian Folk Music Awards, with naturally fluid voices and great sounding instruments telling sparks of life stories. From small-town life to wonder at the bigger things, everything is wrapped around a sense of joy and ease that comes from this small-town renaissance couple. They live with their two kids in the wilderness town of Horsefly, BC, where they also work as renowned banjo builders J. Romero Banjos. Their newest record, Tell ‘Em You Were Gold, puts their sublime banjos in the forefront of new and old songs released on venerable folk label Smithsonian Folkways Recordings in 2022. It was made in an old barn Pharis & Jason spent years slowly restoring, and recorded in six days by a wood stove under northern lights with friends on bass, fiddle, mandolin and pedal steel. It is a testament to the significance of their work as both musicians and builders.

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Photo by Cory Richards, 2024 Banff Centre Mountain Film and Book Festival

Festival Schedule

Check out the 2024 schedule to see what happened last year! NOTE: The 2025 preliminary schedule comes out in April with full schedule in August. Films announced in early Oct. 

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In the words of the NEA Jazz Master Terri Lyne Carrington, paolo peruzzi (b1994 in Verona, Italy) is an artist “with the curious and inquisitive nature to push the genre forward”. Kris Davis describes paolo as “extraordinarily talented, hardworking, curious”. After graduating in 2019 at the Arrigo Pedrollo Music Conservatory (Vicenza, Italy), paolo went on to pursue a performance diploma at the Berklee College of Music (’23 graduate), studying and play alongside artists such as esperanza spalding, Kris Davis, Terri Lyne Carrington, Matt Stevens, David Friedman, Kenny Werner, Francisco Mela, Pietro Tonolo. paolo has been part of the Berklee Institute of Jazz and Gender Justice, whose mission is to support and sustain a cultural transformation in jazz, with the commitment to recruit, teach, mentor, and advocate for musicians seeking to study or perform jazz, with gender justice and racial justice as guiding principles. Founder in 2015 of the multi-awarded chamber percussion ensemble ‘Palladrum’, paolo is the awardee at the first ‘Tomorrow’s Jazz’ competition, presented by Veneto Jazz in conjunction with the Veneto Jazz Festival.

Paolo Peruzzi was generously supported by the Banff Centre Artists' Award.

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